敦煌保存了大量带有“序分”(即“未生怨”)和“正宗分”(即“十六观”)的唐代观无量寿经变(简称观经变),本文详细梳理了自初唐,历盛、中唐而至晚唐、五代、宋初归义军时期观经变的发展脉络,其形式上经历了初唐横卷式,盛唐早期棋格式、格子式、凹字式(即所谓“山”字式),盛唐中后期中堂式,中唐后期屏风式的变化过程。经考察发现,观经变之未生怨与十六观在描绘过程中,《佛说观无量寿佛经》(简称《观经》)原典的作用逐步减弱,图解叙事的功能渐渐被作为观经变图像标志的功能所取代,经疏、疑伪经等新因素的阑入虽然完善了故事的逻辑,但却破坏了画面的逻辑。另外,壁面空间结构的变化对图像的生成会产生重大影响,在故事逻辑线索没有被割断的情况下,画面会以自身的逻辑安排、重组,呈现出新的不同于前代的风貌。 Dunhuang has preserved a great number of Tang Dynasty viewpoints of immeasurable life change (referred to as “change” for short) in the Tang Dynasty with a number of “points” (ie, “without resentment”) and “authentic points” ), This paper details the development of the concept of “Change” during the Gui Yi Jun period from the early Tang, Li Sheng, the Middle Tang Dynasty to the late Tang, the Five Dynasties, and the early Song Dynasty, and formally experienced the changes in the early Tang Dynasty, the early Tang Dynasty , Grid type, concave type (the so-called “mountain ” type), mid and late Tang Dynasty Zhongtang style, the late Middle-screen style change process. Through investigation, we can see that the function of the Buddhist scriptures and the Sutra Buddhist Sutras (“Sutra”) gradually weakened and the function of the narrative narrative gradually became a part of the Buddhist scriptures The function of changing image signs replaced by the sparse, suspected pseudo-economic and other new factors, although the perfection of the logic of the story, but it destroyed the logic of the screen. In addition, the changes in the spatial structure of the wall will have a significant impact on the image generation. In the case that the logic of the story is not cut off, the picture will be arranged and reorganized by its own logic, showing a new style different from the previous generation.